Sahika Tekand, sets out on the dynamism caused by the contradiction of textual and performative elements and creates a design in which the pairs of director/writer, player/play, actor/role player, stage/abstract place can exist in a superpositional form and in which the elements of stagnancy, immobility and monotony, present in Beckett’s text, are each made into performative reasons and obligations; thus sets the theatrical show on this game.
Repetitions, arrhythmia arising from the contradiction of organic and non-organic movement matrices, enable the fluidity and the variability of the present time to be actually audible, visibile and noticeable in the play.